The Other World: Spirits, Demons, and Visions of Transformation | March 12 - 17, 2022 by waddingtons

The Other World: Spirits, Demons, and Visions of Transformation M A R C H !"#!— !"%& !# '##

BID1AND1VIEW1ALL1LOTS1ONLINE1AT﹕ www.waddingtons.ca

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SENIOR1SPECIALIST

Duncan McLean adm@waddingtons.ca )&(-+),-(&+'

SPECIALIST

Palmer Jarvis pj@waddingtons.ca )&(-+),-(&-&

CONSIGNMENT1COORDINATOR1 Elizabeth Gagnon ekg@waddingtons.ca )&(-+),-(&+) %

This catalogue and its contents © !"!!# Waddington McLean & Company Ltd.

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

COVER Lot $ BILL!NASOGALUAK LIQUOR%BOTTLE%WITH%SKULL

INSIDE1COVER1

Lot &' JOSIAH!NUILAALIK TRANSFORMING%SPIRIT

INSIDE1BACK1COVER Lot '( DAVID!RUBEN!PIQTOUKUN DIVINING%SHAMAN%AND%SPIRIT%ANIMAL

BACK1COVER1

Lot &) NICK!SIKKUARK SPIRIT%FIGURE

! BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( SEAL!STUCK!IN!OIL!DRUM stone; signed in Roman, dated 2009 9.5 x 3.5 x 7 in — 24.1 x 8.9 x 17.8 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre, we are pleased to be able to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale). Startling in its directness, Seal Stuck in an Oil Drum by artist Bill Nasogaluak is an image of profound contrasts, if not outright paradox. Expertly cra#ed, and smooth of surface, a seal emerges from the side of a gently curving oil drum that appears almost organic in mo!led stone. The distorted canister rhymes with the arcing body of the seal–perhaps frolicking, perhaps ensnared. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing, 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #$%%&—&!()%%

) BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( LIQUOR!BOTTLE!WITH!SKULL stone; unsigned 8.5 x 4 x 2.5 in — 21.6 x 10.2 x 6.4 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1,2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre, we are pleased to be able to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale).

Liquor Bo!le with Skull continues a theme in Nasogaluak’s oeuvre in which

the abuse of alcohol is closely associated with mortality. [3, 4] A skull sits in relief on the surface of a deformed liquor bo!le in a gesture that invokes both poison sign and western traditions of the memento mori. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing, 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. 3. Nasogaluak, Bill, “Interview with Feheley Fine Arts”, 26 March 2020. Accessed February 21, 2022. 4. Seidelman, Harold, author of The Inuit Imagination: Arctic Myth and Sculpture, personal correspondence February 17, 2022. #*%%&—&$%%

+ BILL!NASOGALUAK!"B#!$%&'()!TUKTOYAKTUK ULU!"WOMAN’S!KNIFE# stone; unsigned 13.5 x 12 x 1.5 in — 34.3 x 30.5 x 3.8 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1,2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre, we are pleased to be able to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale). In Ulu (Women’s Knife) artist Bill Nasogaluak presents an image, ambiguous and troubling in its focused intensity. The upturned body of an ulu forms the torso and outswept arms of a woman whose wrinkled face emerges from a hood perched on the edge of the blade. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing, 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #,%%&—&-%%

. BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( EMBRYO!IN!A!LIQUOR!BOTTLE stone, ivory, pigment; unsigned 8 x 2.5 x 1.5 in — 20.3 x 6.4 x 3.8 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre, we are pleased to be able to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale). An image of shocking directness, Embryo in Liquor Bo!le is a testament to Bill Nasogaluak’s unflinching approach to subject ma!er sometimes tragic, and o#en deeply intimate. [3] A bisected liquor bo!le is the womb for a withered and prematurely aged embryo in this profound reminder that those who suﬀer from alcoholism do not do so alone. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing. 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. 3. Nasogaluak, Bill, “Interview, Ge!ing Past The Oral Tradition”, Inuit Art Quarterly, Vol 11., No. 3, 1996. p. 28-35. #,%%&—&-%%

, BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( INUK!WOMAN stone; signed in Roman, dated 2011 7 x 4.5 x 3 in — 17.8 x 11.4 x 7.6 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre, we are pleased to oﬀer ten diverse works by the artist (see lots 1 through 10 of this auction). Taking the form of a bust and pedestal, Inuk Woman exhibits a playful appropriation of Western conventions in presentation. Nasogaluak has expertly rendered the image of a young Inuk woman not in terraco!a, or pristine white alabaster, but in his own signature mo!led and mossy green stone. A small wonder. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing, 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #*%%&—&$%%

* BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( WHALE!FLUKES!TRANSFORMATION stone; signed in Roman, dated 2011 4 x 6.25 x 2.75 in — 10.2 x 15.9 x 7 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre, we are pleased to be able to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale). Here Nasogaluak presents one of his signature complex faces, rich in minute detail. It bristles with wrinkles in contrast to the smooth black lobes of a whale’s flukes into which it is set. A vision of transformation, Nasogaluak has described the work as the journey of a shaman to visit Sedna at the bo!om of the sea. [3] REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing. 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. 3. Seidelman, Harold, author of The Inuit Imagination: Arctic Myth and Sculpture, personal correspondence February 17, 2022. #,%%&—&-%%

BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( SEAL!SPIRIT stone; signed in Roman, dated 2010 6 x 9.5 x 3.25 in — 15.2 x 24.1 x 8.3 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre in Yellowknife, we are pleased to oﬀer ten diverse works by the artist (see lots 1 through 10 of this auction). In an image o#en revisited by the artist, and subject to delightful variation, is the image of the transforming, or journeying shaman. Here we see Bill Nasogaluak’s confident handling of volume and movement in this diving creature. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing. 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #*%%&—&$%%

/ BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( SEAL!SPIRIT stone; signed in Roman, dated 2012 7.5 x 8 x 2.25 in — 19.1 x 20.3 x 5.7 cm NOTE"

Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre in Yellowknife, we are pleased to oﬀer ten diverse works by the artist (see lots 1 through 10 of this auction). In an image o#en revisited by the artist, and subject to delightful variation, is the image of the transforming, or journeying shaman. Here we see Bill Nasogaluak tackle the subject with his signature detail, and confident rendering of volume and movement. REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing. 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #,%%&—&-%%

$ BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( PERCHED!BIRD!TRANSFORMING stone; signed in Roman, dated 2010 10 x 7 x 2.5 in — 25.4 x 17.8 x 6.4 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre in Yellowknife, we are pleased to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale). A perched bird in transformation clings to a rock from which its body is hardly distinguishable. The face is rendered with Nasogaluak’s distinctive a!ention to detail. For important related works by the artist in the collection of the AGO, see the ongoing exhibit “Bill Nasogaluak”, REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing, 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #,%%&—&-%%

!% BILL!NASOGALUAK!"B#!$%&'()!TUKTUYAAQTUUQ!"TUKTOYAKTUK( TRANSFORMATION stone; signed in Roman, dated 2010 4 x 9.5 x 5.75 in — 10.2 x 24.1 x 14.6 cm Unflinching of eye, and unwavering in the clarity of his artistic statements, artist Bill Nasogaluak has developed a highly distinctive canon of images encompassing subjects as diverse as shamanism and Inuit mythology, Western Renaissance traditions, climate change, depression, and the impacts of industry in the North. A self-taught artist with a passion for both Inuit and Western art history, Nasogaluak is an accomplished painter, sculptor, and instructor whose prescient artworks have been garnering notable curatorial a!ention in recent years. [1, 2] Held in important private and public collections including the Art Gallery of Ontario and the Prince of Wales Northern Heritage Centre in Yellowknife, we are pleased to oﬀer ten diverse works by the artist (see lots 1 through 10 of this sale). Here, a shaman in transformation takes the form of a basking seal. Carved in heavily mo!led stone by Bill Nasogaluak, the animal’s human-like visage is rendered in minute detail, protruding from a hood-like opening in the animal’s body. For important related works by the artist in the collection of the AGO, see the ongoing exhibit “Bill Nasogaluak”, REFERENCES"

1. Art Gallery of Ontario, “Bill Nasogaluak” 2021-Ongoing, 2. Prnewswire, “Bill Nasogaluak: Shapeshi#er” FFA, January 2020. #,%%&—&-%%

!! JOSIAH!NUILAALIK!"$%*+-*--&()!QAMANI’TUAQ!"BAKER!LAKE( TRANSFORMING!ANIMAL stone, antler; signed in syllabics, circa 1990 7.5 x 10.25 x 3.25 in — 19.1 x 26 x 8.3 cm Born into a family of recognized artists, Josiah Nuilaalik, son of Jessie Oonark, created an important and highly distinctive body of work late in his life. [1] Nuilaalik’s sculptures explore images of the spirit world and of transformation. While to our eye, far from naturalistic in their anatomy, his figures o#en convey their weight and a sense of stilled movement with an exceptional clarity. Although Nuilaalik is sometimes quoted as having said that he had not encountered the spirit images which he represented, this admission has been qualified by Harold Seidelman, once a patron of Nuilaalik’s, and author of The Inuit Imagination: Arctic Myth and Sculpture. Seidelman explains that Nuilaalik was very clear when asked where his images came from. In one instance Seidelman queried if an image of a serpent with a man’s head carved by Nuilaalik was a Biblical reference, “No!” replied Nuilaalik “This is real!”. [2] In this exceptional sculpture Transforming Animal Nuilaalik gives a troubling form to a hulking creature with the face of a man and a body that seems simultaneously both caribou and bear. REFERENCES"

1. McMaster, Gerald, Inuit Modern, The Samuel and Esther Sarick Collection, Toronto: Art Gallery of Ontario, 2011. p. 37. 2. Seidelman, Harold, personal correspondence with the author, February 17, 2022. #.(%%%&—&*(%%%

!) ALEX!ALIKASHUAK!"B#!$%&*()!TIKIRARJUAQ!"WHALE!COVE( HOWLING!SPIRIT whale bone; unsigned 8.5 x 3.5 x 3.75 in — 21.6 x 8.9 x 9.5 cm Alex Alikashuak’s sculpture in whalebone strays from the influence of mentor George Arluk that is so palpable in his work in stone. With a great eye for organic form and abstraction, here Alikashuak has carved within the natural confines of porous whalebone to create a sinuous howling spirit. #)%%&—&.%%

!+ JOSIAH!NUILAALIK!"$%*+-*--&()!QAMANI’TUAQ!"BAKER!LAKE( TRANSFORMING!SPIRIT stone, antler; signed in syllabics, circa 1990 5.25 x 5.25 x 3.5 in — 12.7 x 13.3 x 8.9 cm Born into a family of recognized artists, Josiah Nuilaalik, son of Jessie Oonark, created an important and highly distinctive body of work late in his life. [1] Nuilaalik’s sculptures explore images of the spirit world and of transformation. While to our eye, far from naturalistic in their anatomy, his figures convey their weight and a sense of stilled movement with an exceptional clarity. Although Nuilaalik is sometimes quoted as having said that he had not encountered the spirit images which he represented, this admission has been qualified by Harold Seidelman, once a patron of Nuilaalik’s, and author of The Inuit Imagination: Arctic Myth and Sculpture. Seidelman explains that Nuilaalik was very clear when asked where his images came from. In one instance Seidelman queried if an image of a serpent with a man’s head carved by Nuilaalik was a Biblical reference, “No!” replied Nuilaalik “This is real!”. [2] In this exceptional example of the artist’s work Transforming Spirit, a wild figure, its mouth agape revealing sharp incisors, leans forward in the company of a winged companion–perhaps an a!endant spirit, or harassing foe. REFERENCES"

1. Inuit Modern, The Samuel and Esther Sarick Collection, Toronto: Art Gallery of Ontario, 2011. p. 37. 2. Seidelman, Harold, personal correspondence with the author February 17, 2022. #.(%%%&—&*(%%%

!. NICK!SIKKUARK!"$%.'-*-$'()!KUGAARUK!"PELLY!BAY( SPIRIT!FIGURE whalebone, vertebrae, ivory, caribou tooth, sinew, hair; unsigned, circa 1989 21.5 x 8 x 6 in — 54.6 x 20.3 x 15.2 cm PROVENANCE"

Private collection, Toronto, ON A#er making the decision to abandon his training for the priesthood in 1967, Nick Sikkuark returned to Uqsuqtuuq (Gjoa Haven) where he drew a!ention for his small scale sculpture in antler and ivory. [1] By the 1980s he developed a highly original style that has been compared to sculptors as diverse as Karoo Ashevak, Judas Ullulaq, and Manasie Akpaliapik. [2] Widely exhibited and much sought a#er, Sikkuark’s most revered work has been in salvaged bone and organic material. [2.] Darlene Wight documents an early transformative encounter for the artist discussed in a 1996 interview saying: “…he once told about a childhood experience of coming across a surface grave on the tundra, with the skull protruding from under the covering skin. Sikkuark’s artistic imagination has been influenced by this memory.” [3] While there is undeniably a menacing tone to Skiikuark’s oeuvre, it has also been described as “morbidly amusing.” Michael Stevens has said of Sikkuark’s sculpture “There is something pleasurably unse!ling about sculptural explorations of the uncanny by Nick Sikkuark. His creatures o#en seem to have crawled—or slithered—from the pages of an Eldritch bestiary.”[ 2, 4] View website for full catalogue details #.(%%%&—&*(%%%

!, FLOYD!KUPTANA!"B#!$%/.()!PAULATUK GRIMACING!FACE!SHAMAN’S!MASK stone, ivory, hair; signed in Roman, and inscribed Paulatuk NWT, dated 2000 6.75 x 5.25 x 2.25 in — 17.1 x 13.3 x 5.7 cm PROVENANCE"

Private Collection, Ontario With its erratic hair, asymmetrical features, bared teeth, and single outsided goggling eye, this dramatic Floyd Kuptana mask betrays the range of sources from which the artist is known to have drawn. Traditional Yupik and Inupiat masks, as well as Western art historic, and pop culture sources pervade Kuptana’s work, which has borne the influences of his cousins Francis Ruben, and Abraham Apakark Anghik as well as mentors Bill Nasogaluak, and David Ruben Piqtoukun. [1] It has been said of Kuptana’s oeuvre, that “quite simply, he made beautiful monsters”– this mask, with its finely finished surface, and precise inlay makes that point emphatically. [2] View website for full catalogue details #)%%&—&.%%

!* FLOYD!KUPTANA!"B#!$%/.()!PAULATUK GRIMACING!FACE!SHAMAN’S!MASK stone, ivory; unsigned, circa 1999 5.25 x 3 x 1.75 in — 13.3 x 7.6 x 4.4 cm PROVENANCE"

Private Collection, Ontario This dramatic maske!e with its downturned mouth, incised facial lines, and single glaring eye is evocative of both traditional Yupik and Inupiat masks, as well contemporary pop culture sources that run throughout much of Kuptana’s work. Exposed to the artwork of his cousins Francis Ruben, and Abraham Anghik Ruben as well as mentors Bill Nasogaluak, and David Ruben Piqtoukun, Kuptana had extensive experience as an apprentice sculptor by the time he came to produce his own varied work. [1] Of a related work by Kuptana’s cousin David Ruben Piqtoukun, The One Eyed People, from 1995, Piqtoukun said “The orphans and the disadvantaged who overcame their handicaps developed special insights into the material and spiritual worlds, o#en becoming leaders. In southern society they would remain outcasts.” [2] View website for full catalogue details #)%%&—&.%%

!FLOYD!KUPTANA!"B#!$%/.()!PAULATUK GRIMACING!FACE!SHAMAN’S!MASK stone, ivory; signed in Roman and inscribed Paulatuk NWT Toronto, dated 1997 4.75 x 3 x 1 in — 12.1 x 7.6 x 2.5 cm PROVENANCE"

Private Collection, Ontario This dramatic maske!e with its downturned mouth, protruding inlay, and incised facial lines, is evocative of both traditional Yupik and Inupiat masks, as well contemporary pop culture sources that run throughout much of Kuptana’s work. Exposed to the artwork of his cousins Francis Ruben, and Abraham Anghik Ruben as well as mentors Bill Nasogaluak, and David Ruben Piqtoukun, Kuptana had extensive experience as an apprentice sculptor by the time he came to produce his own varied but distinctive work. [1] It has been said of Kuptana’s oeuvre, that “quite simply, he made beautiful monsters”–this maske!e makes that point emphatically. [2] View website for full catalogue details #)%%&—&.%%

!/ FLOYD!KUPTANA!"B#!$%/.()!PAULATUK GRIMACING!FACE!SHAMAN’S!MASK stone, ivory; unsigned, circa 1999 9.75 x 6.5 x .75 in — 24.8 x 16.5 x 1.9 cm PROVENANCE"

Private Collection, Ontario This dramatic mask, with its asymmetrical features, protruding inlay, and incised facial lines, is evocative of both traditional Yupik and Inupiat masks, as well contemporary pop culture sources that run throughout much of Kuptana’s work. Exposed to the artwork of his cousins Francis Ruben, and Abraham Anghik Ruben as well as mentors Bill Nasogaluak, and David Ruben Piqtoukun, Kuptana had extensive experience as an apprentice sculptor by the time he came to produce his own varied but distinctive work. [1] It has been said of Kuptana’s oeuvre, that “quite simply, he made beautiful monsters”–this mask makes that point emphatically. [2] View website for full catalogue details #)%%&—&.%%

!$ ARTIST!UNIDENTIFIED)!POSSIBLY!FLOYD! KUPTANA)!PAULATUK GRIMACING!FACE!SHAMAN’S!MASK stone; signed in Roman J P-Punkimo two, and inscribed #33-93 9 x 7.5 x 2 in — 22.9 x 19.1 x 5.1 cm PROVENANCE"

Private Collection, Ontario #!%%&—&!,%

)% FLOYD!KUPTANA!"B#!$%/.()!PAULATUK PAIR!OF!GRIMACING!FACE!SHAMAN’S! MASKS stone; signed in Roman, inscribed Paulatuk NWT Toronto ON, dated 1997 and 1999 7 x 4 x 1 in — 17.8 x 10.2 x 2.5 cm PROVENANCE"

Private Collection, Ontario These dramatic maske!es, with their asymmetrical features, and gaping mouths, are evocative of both traditional Yupik and Inupiat masks, as well contemporary pop culture sources that run throughout much of Kuptana’s work. Exposed to the artwork of his cousins Francis Ruben, and Abraham Anghik Ruben as well as mentors Bill Nasogaluak, and David Ruben Piqtoukun, Kuptana had extensive experience as an apprentice sculptor by the time he came to produce his own varied but distinctive work. [1] It has been said of Kuptana’s oeuvre, that “quite simply, he made beautiful monsters”–these maske!es make that point emphatically. [2] View website for full catalogue details #)%%&—&+%%

)! FLOYD!KUPTANA!"B#!$%/.()!PAULATUK PAIR!OF!GRIMACING!FACE!SHAMAN’S! MASKS stone, ivory; signed in Roman, inscribed Paulatuk NWT, dated 1997 8 x 5.75 x 1.25 in — 20.3 x 14.6 x 3.2 cm PROVENANCE"

Private Collection, Ontario These dramatic maske!es, with their asymmetrical features, gaping mouths, and protruding inlay, are evocative of both traditional Yupik and Inupiat masks, as well contemporary pop culture sources that run throughout much of Kuptana’s work. Exposed to the artwork of his cousins Francis Ruben, and Abraham Anghik Ruben as well as mentors Bill Nasogaluak, and David Ruben Piqtoukun, Kuptana had extensive experience as an apprentice sculptor by the time he came to produce his own varied but distinctive work. [1] It has been said of Kuptana’s oeuvre, that “quite simply, he made beautiful monsters”–these maske!es make that point emphatically. [2] View website for full catalogue details #)%%&—&+%%

)) PIERRE!AUPILARDUK!"B#!$%/$()! KANGIQLINIQ!"RANKIN!INLET( WOMAN!HOLDING!QULLIQ ceramic; signed in syllabics and Roman, dated 2004 6.5 x 5 x 6.5 in — 16.5 x 12.7 x 16.5 cm Pierre Aupilarduk is a ceramic artist currently working out of the Matchbox Gallery studios in Kangiqliniq (Rankin Inlet). Aupilardjuk has worked at the gallery since its inception in 1987, and is currently an instructor and manager at the studio. A skilled ceramicist, Aupilardjuk is known for portraying familial scenes amidst images of fantastical transformation, as here in this charming work, Woman Holding Qulliq. This lot is accompanied by an original Canadian Eskimo Art label reading “Pierre Aupilarduk / Rankin Inlet / Man Holding Kunlik 23-240186.” RELATED&WORKS"

Nelson, Michael, “Pierre Aupilardjuk on Inuit Traditions” Youtube. Accessed February 21, 2022. REFERENCES"

The Matchbox Gallery, “Pierre Aupilarduk”. Accessed February 21, 2022. h!p://www. thematchboxgallery.com/PIerre_Aupilardjuk.html. #.%%&—&*%%

)+ YVO!SAMGUSHAK!"B#!$%.*()!KANGIQLINIQ! "RANKIN!INLET( SUNDANCER ceramic; signed in syllabics and Roman, dated 2004 height 8.5 in — 21.6 cm, diameter 5.5 in — 14 cm NOTE"

Yvo Samgushak began working with clay when he was nineteen years old. [1] An early member of the original government-run ceramics program at Kangiqliniq (Rankin Inlet), in later life he was also an active teacher despite hearing and speech impairments. [2] Here in this strikingly simple composition by Samgushak we see the sun embodied with a human face. Radiating lines of light emanate from the central visage and are scalloped like braids of hair. This lot is accompanied by an original Government of Canada Eskimo Art tag reading “Yvo Samgushak / Rank Inlet / Sundancer 14-240036.” REFERENCES"

1. Gardner Museum, “Northern Visions: Contemporary Inuit Ceramics’’, Google Arts and Culture. Accessed February 22, 2022. Click here to read more. 2. Boyle, Shary, Keeping Up with the Ceramic Artists of Kangiqliniq, Inuit Art Quarterly, July 29, 2020. Accessed February 22, 2022. h!ps://www.inuitartfoundation.org/iaq-online/keeping-up-with-theceramic-artists-of-kangiqliniq. #.%%&—&*%%

). LUKE!AIRUT!"$%.*-*--+()!IGLULIK!"IGLOOLIK( DRUM!DANCE polar bear jawbone, baleen, antler; signed in Roman, circa 2000 6.5 x 6.5` x 4.5 in — 16.5 x 16.5 x 11.4 cm PROVENANCE"

Walker’s Auction, O!awa, ON, May, 2014, lot 299; Private Collection, Toronto, ON NOTE"

Carved by Lukie Airut from the jawbone of a polar bear, a towering wide-eyed and bow-legged shaman stands on a plane of baleen, holding a qilaut (hoop drum) and drum beater; his legs are carved with figures in low relief, and frame a vigne!e of a dancing man with two dogs. Typical of the artist’s use of organic material, Lukie Airut o#en carves from bone sourced from his own hunting exploits, but has also from found materials, “I began collecting bowhead skulls from old sod houses,” he explains in a 2006 interview for Inuit Art Quarterly. “I have probably carved over 100 skulls.”[1] This lot is accompanied by a May, 2014 Walker’s Auction label.

#*%%&—&/%%

), JESSIE!OONARK)!O#C#)!R#C#A#!"$%-/-$%+&()!ᔪᓯ!ᐃᓇ)! QAMANI’TUAQ!"BAKER!LAKE( THE!FLIGHT!OF!THE!SHAMAN stonecut; 1970, 10/50 21 x 26.5 in — 53.3 x 67.3 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

In The Coming and Going of the Shaman: Eskimo Shamanism and Art, author and curator Jean Blodge! describes the powers of the Inuk shaman to take flight as follows: “Shamans could fly to the moon, to the sun, to the heavens, and to the underworld. They visited deities above the earth and below the sea. They flew or descended to the bo!om of lakes and to the lands of the dead, both in the sky and underground. They might fly through space or around the earth. They were transported by spirit helpers and benign deities. They also traveled from one earthly locale to another; from Canada to Point Barrow, from the Diomede Islands to St. Lawrence Islands, or even from Alaska to San Francisco and back.” [1] In this iconic and powerful image, The Flight of The Shaman, Jessie Oonark presents an angakkuq (shaman) bedecked with their a!endant spirits. Wraith-like, the figure of the angakkuq appears only in outline, arms swept backwards as the wings of a bird. The proceeding print, number 9, in this edition of 50 is held in the collection of the Montreal Museum of Fine Arts, Cat. No. Gr.1971.63. PUBLISHED"

Government of Northwest Territories, Baker Lake prints/estamps 1971, O!awa, Ontario: Canadian Arctic Producers Limited, 1971. pl. 13. 1. Blodge!, Jean, The Coming and Going of the Shaman: Eskimo Shamanism and Art, Winnipeg: The Winnipeg Gallery of Art, p. 91. #)(,%%&—&+(,%%

)* MARION!TUU’LUUQ!"$%$--*--*()!KINNGAIT!"CAPE!DORSET( INUIT!ANIMALS stonecut; 1981, 27/50 30 x 22.5 in — 76.2 x 57.2 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON #+%%&—&,%%

)MYRA!KUKIIYAUT!"$%*%-*--/()! QAMANI’TUAQ!"BAKER!LAKE( FISH!SWALLOWING!MAN stencil; 1978, 12/50 24.5 x 34 in — 62.2 x 86.4 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON PUBLISHED"

Sanavik Cooperative, Baker Lake 1978 Prints/Estampes, Baker Lake, N.W.T.: Sanavik Co-Operative pl. 28. #)%%&—&.%%

)/ PETER!PITSEOLAK!"$%-*-$%0'()! KINNGAIT!"CAPE!DORSET( DANCE!OF!THE!BIRD!SPIRIT stonecut; 1973, 49/50 24.5 x 16.75 in — 62.2 x 42.5 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON PUBLISHED"

West-Baﬃn Eskimo Co-operative, 1973 Cape Dorset Prints/Estampes, Toronto: C.F. Haughton Ltd., pl. 56. #+%%&—&,%%

)$ NANCY!PUKINGRNAK!AUPALUKTUQ! "B#!$%.-()!QAMANI’TUAQ!"BAKER!LAKE( RESCUED!FROM!TWO!FACED!MONSTERS stonecut; 1986, 28/40 37 x 26 in — 94 x 66 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON #+%%&—&,%%

+% SIMON!TOOKOOME!"$%'.-*-$-()! QAMANI’TUAQ!"BAKER!LAKE( WE!LIVE!BY!ANIMALS stonecut and stencil; 1975, 4/42 25 x 37 in — 63.5 x 94 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON PUBLISHED"

Sanavik Cooperative, Baker Lake 1975 Prints/ Esampes, O!awa: Sanavik Cooperative, pl. 27. Winnipeg Gallery of Art, Cat. No. G-80-290– See: Driscoll, Bernade!e; S. Butler, Baker Lake Prints and Print Drawings 1970-76, Winnipeg: Winnipeg Art Gallery, 1982. p. 45. #+%%&—&,%%

+! MABEL!NIGIYOK!"B#!$%'+()! ULUKHAKTOK!"HOLMAN( SHAMAN!HEALER stonecut; 1991, 14/25 24 x 32.5 in — 61 x 82.6 cm PROVENANCE"

Estate of W. A. Ross MacFadden, Toronto, ON #)%%&—&.%%

+) MYRA!KUKIIYAUT!"$%*%-*--/()! QAMANI’TUAQ!"BAKER!LAKE( FLYING!OVER!THE!LAND stonecut; 1984, 24/40 29 x 22 in — 73.7 x 55.9 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON #)%%&—&.%%

++ ABRAHAM!APAKARK!ANGHIK!"B#!$%&$()! PAULATUK WALRUS!TRANSFORMATION stone, ivory; signed in Roman, dated 1995 9 x 21.5 x 9 in — 22.9 x 54.6 x 22.9 cm One of Canada’s foremost contemporary sculptors, Abraham Apakark Anghik works within a wide range of subject ma!er rooted in stories and images from Arctic and West Coast mythology. In Walrus Transformation Anghik approaches a familiar subject, bringing an a!ention to material and confidence in cra#smanship seen in related works, such as Seal with Helper, (1985) in the collection of the Winnipeg Gallery of Art. [1] RELATED&WORKS"

1. Winnipeg Gallery of Art, Seal with Helper, 1985–See: Wight, Darlene Coward, Out of Tradition: Abraham Anghik/David Ruben Piqtoukun, Winnipeg: Winnipeg Gallery of Art, 1989. p.30 pl. View website for full catalogue details #)(,%%&—&+(,%%

+. ABRAHAM!APAKARK!ANGHIK!"B#!$%&$()! PAULATUK SIDEWAYS!SEAL!TRANSFORMATION stone, ivory, catlinite; Signed in Roman, dated ‘90 5.5 x 17.75 x 11 in — 14 x 45.1 x 27.9 cm In a work that exudes otherworldly strangeness, this seal in transformation by Abraham Anghik appears as a twisted mass of interwoven parts. WAG curator Darlene Wight has said of the artist’s works that they “...flow together to create complex though unified images with a strong focal point”–certainly so here in this strange and arresting variation on one of the artist’s favoured themes. [1] REFERENCES"

1. Wight, Darlene Coward, Abraham Anghik Ruben, Winnipeg: Winnipeg Gallery of Art, 1996. p.9 #!(%%%&—&!(,%%

+, ABRAHAM!APAKARK!ANGHIK!"B#!$%&$()! PAULATUK SEDNA stone; signed in Roman, dated 1997 5.5 x 7 x 23 in — 14 x 17.8 x 58.4 cm Images of Sedna pervade the work of Abraham Apakark Anghik; sometimes as social comment, or here as stylized illustration of myth in this gracefully gliding Sedna. [1] Long and lithe, her hair trails along the surface of her back, echoing the curvature of a streamlined body. REFERENCES"

1. Wight, Darlene Coward, Abraham Anghik Ruben, Winnipeg: Winnipeg Gallery of Art, 1996. p.8. #$%%&—&!()%%

+* DAVID!RUBEN!PIQTOUKUN!"B#!$%&-()! ᑎᕕᑎ!ᐱᑐᑯ!ᕈᐱᐃᓐ)!PAULATUK DIVINING!SHAMAN!AND!SPIRIT!ANIMAL stone, catlinite inlay; signed in Roman, dated 1998 18 x 16 x 4.5 in — 45.7 x 40.6 x 11.4 cm PROVENANCE"

Private Collection, Toronto, ON The joy of hearing stories told by his mother and grandmother about shamanism and traditional beliefs influenced a young David Ruben Piqtoukun and have spawned images recurring throughout the artist’s career. [1] Faces of men and animals o#en appear as mask-like forms in Piqtoukun’s work, an image derived from a tradition of ceremonial and ritual masks in the Western Arctic. View website for full catalogue details #!(,%%&—&)(,%%

+DAVID!RUBEN!PIQTOUKUN!"B#!$%&-(!/! BILL!NASOGALUAK!"B#!$%&'()!PAULATUK SHAMAN!TRANSFORMATION stone; mounted with post on base. Signed in Roman, circa 1995 2.5 x 11.75 x 6.75 in — 6.4 x 29.8 x 17.1 cm A curious image of a low-flying shaman in transformation signed by David Ruben Piqtoukun, but with a head carved in the manner of Bill Nasogaluak, in what is possibly a repair to a work, or collaboration between the artists. Images of flying shaman appear through the oeuvres of Piqtoukun and his brother Abraham Anghik, said to originate in the otherworldly travels of their grandfather, a reputed shaman. [1] REFERENCES"

1. Wight, Darlene Coward, Out of Tradition:

Abraham Anghik/David Ruben Piqtoukun, Winnipeg: Winnipeg Gallery of Art, 1989. p.6. #+%%&—&.%%

+/ KELLYPALIK!ETIDLOOIE!"B#!$%//()! KINNGAIT!"CAPE!DORSET( FLYING!CREATURE bone; unsigned 7.25 x 13 x 8 in — 18.4 x 33 x 20.3 cm NOTE"

An active artist in stone and graphic arts, Kellypalik Etidlooie is also known for his playful use of found organic material as exemplified here in this spindly legged and porous bodied flying creature fashioned from a skull and carved panels of bone. This lot is accompanied by an original Government of Canada Eskimo Art tag. #*%%&—&$%%

+$ UNIDENTIFIED!ARTIST RELIEF!CARVED!SKULL bone, ivory; unsigned 4.5 x 9.5 x 6 in — 11.4 x 24.1 x 15.2 cm A macabre image of transformation by an unknown artist, this work exhibits a satan-like visage complete with sharpened teeth and curved hook-like beard conjoined with a snarling animal, incised with figures and punctuated with inlaid eyes. #!%%&—&!,%

.% THOMAS!SIVURAQ!"B#!$%.$()!ᑕᒪᓯ!ᓯᕗᒐ)! BAKER!LAKE!/!QAMANI’TUAQ WINGED!SHAMAN stone; signed in syllabics 6.25 x 3 x 3.6 in — 15.9 x 7.6 x 9.1 cm Still actively living oﬀ the land in the early 1960s, Thomas Sivuraq has been clear in articulating the reasons for his carving in the early days of his output, saying in a 1998 interview with Henry Kudluk “...carving was a way for me to get bullets for my rifle and supplies to go hunting”. [1] A talented and respected artist, Sivuraq was also an accomplished printer and was responsible for printing numerous important works of Qamani’tuaq (Baker Laker) graphics including works by Jessie Oonark and Luke Anguhadluq. [2] Here in this charming figure, Winged Shaman we see the artist approaching animal-human imagery so o#en investigated in his work. REFERENCES"

1. Kudluk, Henry; Thomas Sivuraq, “Focus: Thomas Sivuraq” Inuit Art Quarterly, Vol. 14, No. 1, 1999. p. 27. 2. Barz, Sandra Buhai, Inuit Artists Print Workbook, New York: Arts and Culture of the North Publishers, 2003. Vol. III, Book 1. #+%%&—&#,%%

.! BILLY!KUKSUK!"B#!$%/*()! ARVIAT!"ESKIMO!POINT( IJIRAQ stone; signed in Roman, dated 2002 6.5 x 6.752. x 2.25 in — 16.5 x 17.2 x 5.7 cm In this sculpture of a single sinuous caribou leg and weathered human face, Billy Kuksuk gives us an image of the feared Ijiraq, a sometimes benign, and sometimes malevolent creature that takes on the form of a caribou and can cause suﬀering or death to those who encounter it. [1] This lot is accompnanied by an original Government of Canada Eskimo Art tag reading “Billy Kuksuk / Arviat / Iyeeraq (Trans) ARV1444” REFERENCES"

Laugrand, Frederic B, Jarich G Oosten. Inuit Shamanism and Christianity: Transformations in the Twentieth Century. Montreal: McGillQueen’s University press, 2014. p. 174-178. #.%%&—&*%%

.) UNIDENTIFIED!ARTIST)! KALAALLIT!NUNAAT!"GREENLAND( PAIR!OF!TUPILAQS ivory, baleen; unsigned 5.5 x 1.5 x 2.5 in — 14 x 3.8 x 6.4 cm Originally, Greenlandic tupilaqs were dangerous magical objects, sometimes said to be made from the bones of dead animals wrapped in skins; they were considered to have the power to bring about death. The carving of small tupilaq figures made for sale or trade began in East Greenland in the early Twentieth century, spreading to West Greenland in the 1930s. Twentieth century tupilaqs, typically carved in ivory or muskox horn, o#en appear (as here) gleefully pursuing the macabre ends of their historic counterparts. REFERENCES"

Bodil, Kaalund, The Art of Greenland: Sculpture, Cra"s, and Painting. Berkeley: University of California Press, 1979. p. 25-27 and 67-75. #,%%&—&-%%

.+ UNIDENTIFIED!ARTIST)! KALAALLIT!NUNAAT!"GREENLAND( TUPILAQ!AND!BEAR!SPIRIT ivory, baleen; unsigned 5 x 1 x 1.75 in — 12.7 x 2.5 x 4.4 cm PROVENANCE"

Private Collection, Ontario Originally, Greenlandic tupilaqs were dangerous magical objects, sometimes said to be made from the bones of dead animals wrapped in skins; they were considered to have the power to bring about death. The carving of small tupilaq figures made for sale or trade began in East Greenland in the early Twentieth century, spreading to West Greenland in the 1930s. Twentieth century tupilaqs, typically carved in ivory or muskox horn, o#en appear (as here) gleefully pursuing the macabre ends of their historic counterparts. REFERENCES"

Bodil, Kaalund, The Art of Greenland: Sculpture, Cra"s, and Painting. Berkeley: University of California Press, 1979. p. 25-27 and 67-75. #,%%&—&-%%

.. UNIDENTIFIED!ARTIST)! KALAALLIT!NUNAAT!"GREENLAND( THREE!TUPILAQS horn, ivory; unsigned 5.25 x .75 x 1.5 in — 13.3 x 1.9 x 3.8 cm Originally, Greenlandic tupilaqs were dangerous magical objects, sometimes said to be made from the bones of dead animals wrapped in skins; they were considered to have the power to bring about death. The carving of small tupilaq figures made for sale or trade began in East Greenland in the early Twentieth century, spreading to West Greenland in the 1930s. Twentieth century tupilaqs, typically carved in ivory or muskox horn, o#en appear (as here) gleefully pursuing the macabre ends of their historic counterparts. REFERENCES"

Bodil, Kaalund, The Art of Greenland: Sculpture, Cra"s, and Painting. Berkeley: University of California Press, 1979. p. 25-27 and 67-75. #+%%&—&.%%

.* JOSIAH!NUILAALIK!"$%*+-*--&()! QAMANI’TUAQ!"BAKER!LAKE( SHAMAN!IN!FLIGHT stone; signed in syllabics 8.5 x 5 x 4.25 in — 21.6 x 12.7 x 10.8 cm Born into a family of recognized artists, Josiah Nuilaalik, son of Jessie Oonark, created an important and highly distinctive body of work late in his life. [1.] Nuilaalik’s sculptures explore images of the spirit world and of transformation. Although Nuilaalik is sometimes quoted as having said that he had not encountered the spirit images which he represented, this admission has been qualified by Harold Seidelman, once a patron of Nuilaalik’s, and author of The Inuit Imagination: Arctic Myth and Sculpture. Seidelman explains that Nuilaalik was very clear when asked where his images came from. In one instance Seidelman queried if an image of a serpent with a man’s head carved by Nuilaalik was a Biblical reference, “No!” replied Nuilaalik “This is real!”. [2] In Shaman in Flight Nuilaalik gives us a strange liminal vision of shaman or spirit in transformation. Amorphous in form and character, it is neither man nor bird. View website for full catalogue details #!(%%%&—&!(,%%

.THOMAS!SIVURAQ!"B#!$%.$()! QAMANI’TUAQ!"BAKER!LAKE( BEAR!WOMEN stone; unsigned 9 x 6 x 3.5 in — 22.9 x 15.2 x 8.9 cm Still actively living oﬀ the land in the early 1960s, Thomas Sivuraq has been clear in articulating the reasons for his carving in the early days of his output, saying in a 1998 interview with Henry Kudluk “...carving was a way for me to get bullets for my rifle and supplies to go hunting”. [1] A talented and respected artist, Sivuraq was also an accomplished printer and was responsible for printing numerous important works of Qamani’tuaq (Baker Laker) graphics including works by Jessie Oonark and Luke Anguhadluq. [2] Here in this charming figure, Bear Women, we see the artist approaching animal-human imagery so o#en investigated in his work. An old inventory label is aﬃxed to the underside reading “Tommy Sevoga [Thomas Sivuraq] / Baker Lake / #3781.” View website for full catalogue details #)%%&—&+%%

./ ALEX!ALIKASHUAK!"B#!$%&*()! TIKIRARJUAQ!"WHALE!COVE( SINGING!SHAMAN stone; signed indistinctly 7.75 x 2.5 x 1.75 in — 19.7 x 6.4 x 4.4 cm #)%%&—&#.%%

.$ NUJALIA!POOTOOGOOK)! KINNGAIT!"CAPE!DORSET( TWO!BEARS$!DRUMMING!AND! SQUATTING stone; signed indistinctly largest 6.5 x 3.25 x 3.25 in — 16.5 x 8.3 x 8.3 cm #)%%&—&#.%%

,% GEORGE!AUKSAQ!"B#!$%/'()! IGLULIK!"IGLOOLIK( ARCTIC!MITE!TRANSFORMATION stone; unsigned 1.75 x 6 x 4.25 in — 4.4 x 15.2 x 10.8 cm PROVENANCE"

Waddington’s, Toronto, ON, November, 2011; Private Collection, Toronto, ON NOTE"

This lot is accompanied by an original Government of Canada Eskimo Art tag. #!,%&—&),%

,! LUCY!TASSEOR!TUTSWEETOK! "$%'.-*-$*()!ARVIAT!"ESKIMO!POINT( MANY!FACES antler; unsigned, circa 1980s 8 x 5.5 x 5 in — 20.3 x 14 x 12.7 cm PROVENANCE"

Walker’s Auctions, O!awa, ON, May, 2013 lot 127; Private Collection, Toronto, ON #+%%&—&.%%

,) SIMON!TOOKOOME!"$%'*-*-$-()! QAMANI’TUAQ!"BAKER!LAKE( WOLF!AT!HOME!WITH!JOYOUS!FACES stone; unsigned 6.8 x 7.5 x 2.75 in — 17.3 x 19.1 x 7 cm ##)%%&—&#.%%

,+ ABRAHAM!APAKARK!ANGHIK!"B#!$%&$()! PAULATUK OWL!IN!TAKE!OFF stone and acrylic resin; unsigned 5 x 4.5 x 3 in — 12.7 x 11.4 x 7.6 cm #)%%&—&+%%

Buying at Waddington’s All lots will be oﬀered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

CONDITION'OF'LOTS

All of the items are to be considered, unless otherwise noted in the description or condition report, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staﬀ answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale. Frames on artwork are not included as part of purchase or condition.

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INSURANCE

AUCTION'ADVICE

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please feel free to contact us via email or telephone. We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider. For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons. ca). For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca. Our oﬃces are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto oﬃce (',)-%$'-#,$$). Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, se0ing forth terms and fees for our services.

Conditions of Sale !"#All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is oﬀered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. %"# Each lot sold is subject to a 20% buyers premium as part of the purchase price. &"# Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

)" Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in a*endance at the sale. +"# The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-oﬀer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final. 8. Immediately a,er the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-oﬀering the item for sale. 9. The buyer shall pay for all lots within 48 hours from the date of the sale, a,er which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, a,er which storage charges may be incurred.

'" The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice.

10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away.

("# The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article oﬀered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14

days following the sale a wri*en opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a wri*en request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank dra,, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them. 15. The auctioneer acts solely as agent for the consignor and makes no representation as to any a*ribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada). 16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.